Holy Trinity Church Hastings Sun April 1

Baroque music originated, so the reference books say, as after-dinner entertainment in the drawing-rooms of stately home.

So when the recently-formed but thriving Baroque Opera Live found their stately home at the church of Holy Trinity with the ‘after-dinner’ provided by the delicious refreshments after the performance, they were carrying on the tradition.  The difference from the two or three artistes of the original era, the hundred-and-fifty years from 1600 to the demise of Bach and Haydn, was that this Baroque was by a group of brightly-gowned ladies and a significant number of gentlemen.

The ensemble opened with Handel’s Awake the Trumpets followed by O Sacred Head Now Wounded conducted by the group’s Director Duncan Reid with Nigel Howard on the organ.

With Duncan on piano, from Bach’s St Matthew’s Passion soprano Linda Westcott sang Bleed Dear Heart. A seasonal offering came from Linda Grace, one of the group’s founders, with Tell me quickly, Where is my Saviour from Bach’s 1736 Easter Oratorio.

More familiar was Purcell’s Fairest Isle sung by tenor Douglas Edwards with Jonathan Swift on ‘cello and Nigel Howard on harpsichord, followed by Cindy and Hebe Gilham with his lesser-known  Sweet Delights of Spring.

The ensemble returned with Wiliam Boyce’s ‘Tis Better to Laugh than Cry, and baritone John Cobb’s robust rendering of Plenty, Peace & Pleasure Fly.

Aisla Vinson implored us to Weep No More my Heart, before Linda Grace’s Nisi Dominus by Vivaldi, a name always associated with Baroque, and more Purcell from Linda Westcott. The recital closed to prolonged applause with more Vivaldi and Praise and Thanks from Bach’s Easter Oratorio.

MW